The City As An Idea - a reflection on what I'm doing

As the end of the year approaches and I plan and contemplate the body of work ahead I've been, understandably, thinking about what I've done and how it should proceed. I now think I can explain my map and my films in a way I could not have done before, even when I was producing them.

For the first time in a while I listened to the song 'Going to your Funeral' by The Eels, the reprise of which I used in my first film 'To Belfast.'

There is a line in the original song which goes 'Look at all the people with the flowers in their hands. They put the flowers on the box that's holding all the sand that was once you.' It struck me that this has a significance to the last film I made, 'Tomb.' 

The film concludes by suggesting that the attitude that Belfast is in some way dead, or even profoundly damaged, is a total misnomer. Belfast is not a living organism and cannot be dead or even injured. We can use the metaphor to describe our opinions in a poetic and engaging way, but when it comes to honestly trying to get the city working we need to remember they are only metaphorical and ultimately not true. So when E quite unromantically remarks that whatever resides in the box at the funeral is indeed not his loved one but rather a pile of 'sand,' this applies even more readily to a city.

A city is what John Searle would call a social construct (in particular an institutional social construct); if it were not for us grouping the set of phenomena relating to this specific space on earth into a subset which we label Belfast, then Belfast would simply not be. Belfast is a set of ideas, be it the approach to the sandbank ford, the strategic gateway to the Ards, the residence of the Chichester family, the incorporated market town, 'boomtown' of Imperial Victoriana, modernist hub of industry and commerce, religious warzone or 21st century tourism and shopping destination. 

As Alan Moore suggested in 'V for Vendetta,' ideas don't die. Ideas ebb and flow, they contradict and adjust. They defy three dimensional space and fly in the face of logic and rationality. Cities, like ideas, are not things or objects, but are dynamic lived processes which refute absolutism and universality. Any perception we have of an idea dying or not being there is just that; a perception. A perception of the passing of a way-of-being we held dear, or at worst reified. As long as we bear in mind that they are simply ideas which suggest a way of living then their departure should not worry us so much.

Cry onwards to the next 'Belfast!'

To Belfast - A short film about a city

Another video blog entry, a set of maps detailing the development of Belfast set to some music and poetry which illustrates my bitter-sweet relationship with the city along with the difficulty of maps for representation.

Music - 'Going to Your Funeral prt2' by The Eels, taken from the album 'Electro-Shock Blues'

Words - 'To Belfast' by Alan Gillis, taken from the book 'Somebody, Somewhere.' Please see previous  post (http://passoverinsilence.blogspot.com/2013/01/for-belfast-alan-gillis_24.html) for  words.

Sources - 
Bardon, J. & Bell, H.V. (1982) Belfast :an illustrated history. Repr with corrections edn, Dundonald: Blackstaff Press.
Bardon, J. & Conlin, S. (1985) Belfast: 1000 years. Belfast: Blackstaff.
Gillespie, R. & Royle, S.A. (2006) Belfast C.1600 to 1900 :the making of the modern city. Dublin: Royal Irish Academy.
Patton, M. & Ulster Architectural Heritage Society (1993) Central Belfast: an historical gazetteer. Belfast: Ulster Architectural Heritage Society.
Royle, S.A. (2007) Belfast, 1840 to 1900. Dublin: Royal Irish Academy.

Laganside - Belfast Sonic Poetry App

This article was published initially on the PLACE blog and then in the December 2012 edition of 'The Ulster Folk.'

It seems all too easy to criticise Belfast’s tired looking Langanside development, perhaps this is because it’s all too easy to forget how bad the post-industrial wasteland the banks of the Lagan were in the late eighties. It’s also easy to forget how incredible the aspirations of the Laganside Corporation were, given that it formed almost a decade before the Good Friday Agreement.

A new smartphone app called ‘Laganside’ highlights this dichotomy, enabling users to engage with this at times forsaken area; an area where Belfast’s aspirations, past, present and future, are made flesh. Developed by PhD music student John D’Arcy, the app was  launched on Culture Night 2012.

Taking on and surpassing the recent sonic arts trend in “digitised relational maps using embedded media,” ‘Laganside’ makes use of the contemporary epic poem of the same name, with a great reading by voice over artist Patrick FitzSymons. D’Arcy explains the reasons for choosing this particular piece by Belfast poet Alan Gillis. “Laganside doesn’t name particular places, but you know where he’s talking about, or you think you know and make your own connections based on your experience of Belfast, your personal history of it.” The app makes the academic fields of the sonic arts and poetry immediate and accessible, allowing the user to bridge the gap between the text and the space to which it refers.

The app’s unique design, by visual artist Gerard Carson, makes use of the smart phone’s ‘geo-location’ ability to track the user’s position along a three mile walk hugging the river. As the user approaches specific areas ‘soundscapes’ are triggered. A flurry of distorted music, sound effects and barely audible voices heightens the experience and lends further weight to both poem and locale. “The poem remains the same,” John explains, “but depending on your location your experience of it differs.” There are a number of other poems which can only be ‘collected’ by visiting locations along the route, something which should lend the app longevity, and perhaps suggesting that further routes could be added in the future.

The first soundscape I experienced was located at a platform jutting out into the river immediately behind the Waterfront Hall. As I ascended the short ramp to the platform a frenzy of noise overwhelmed me and the previously jovial voice in my ear took on a sinister air. I stood overlooking the river; several seagulls lined up along the steel balustrade eyed me resentfully before one by one taking off toward the lough; a train glided gently over the water; the city loomed behind. I felt consumed by sound, the  rhythm of the verse and my environment.

The meandering cadence of the poem, which describes a man’s walk along the regenerated riverfront with his ‘better half,’ gradually builds towards an understated yet profound climax. “Leaving me to find our way back to the streets, knowing I’ll never leave here, or come back again.” Fighting back the lump in my throat, the words resonated so strongly. From the grit and filth of the late eighties Belfast has surpassed itself, moving so fast the city is at times hard to recognise. The Laganside area is the embodiment of Belfast’s decline and regeneration; a city which never fails to impress and disappoint in equal measure.

‘Laganside - Belfast Sonic Poetry App’ is available for free on iTunes for iOS and Google Play for Android. Visit http://lagansideapp.com for information on the app or http://johndarcy.co.uk/ for other projects by John D'Arcy.

To Belfast - Alan Gillis

I happened across the following poem which sails scarily close to the application of my theoretical model to the city of Belfast, published in 2004. My entire PhD project summed up in four succinct, profound and distinctly Northern Irish verses.

To Belfast

May your bulletproof knickers drop like rain
and your church-spires attain a higher state of grace.
My lily-of-the-valley, the time is at hand
to ring your bells and uproot your cellulose stem.
I bought hardware, software, and binoculars to trace
your ways of taking the eyes from my head.

And none of it worked. We've been coming to a head
for too long; aircraft prick the veins of your rain-
bow as they shoot you in soft focus to trace
the tramlines of your cellulite skin. But with the grace
of a diva on a crackling screen, you never stem
to their cameras, you're forever getting out of hand.

Once in school, on a greaseproof page, we had to trace
the busts and booms of your body, and I was ashamed to hand
mine in because it lacked what Da called grace.
And I wish I was the centre of a rain-
drop that's falling on your head, the key to your hand-
cuffs, the drug that could re-conjugate your head.

For Belfast, if you'd be a Hollywood film, then I'd be Grace
Kelly on my way to Monaco, to pluck the stem
of a maybell with its rows of empty shells, its head
of one hundred blinded eyes. I would finger your trace
in that other city's face, and bite its free hand
as it fed me, or tried to soothe the stinging of your rain.

Alan Gillis - taken from 'Somebody, Somewhere' (2004)